TBR: 2nd October
Ladymonix has been busy with creativity like many of us have been over this awkward year. Each generation has its story to tell and this is sure to be one of ours. The self-soothing elements needed at first that helped to evolve the psychology to positivity in the first chapters has manifested in the first two offerings. The next two have found a place of acceptance and understanding, proving that anxiety, upset, and fear can detract from our ability to party.
Club Nowhere opens on a one-two snare and hat bass rhythm. Tuneful bursts then adopt a rhythmic updraught before swaying synthesiser chords as a motion that revolves and dips on each revolution. Vocal adds a sparkle of palette before a new edge to the bass gives way to a deep and danceable pace. The synthesiser takes the lead as a simplification of rhythm breaks the percussion down to simple steps. A throbbing beat pushes each section onward as repeating motifs and looping compositions swap and sneak around the persistent bass-drum.
The next number begins with a hollow and heady drum that rattles in a staggering and three legged pace. We enjoy as the rhythm ushers us in to the darkened room and gives us somewhere to stand. Random and chaotic, we all know to keep our distance. I don't know your grandma and I don't want to be the one who makes her ill. We peer around misty dry-ice corners while globules of deep and hedonistic spotlight dampen the shadows with a lush and tender glow. Jittery melodies repeat over drawn out long-distance chords. The music builds, new percussion composition brings out melodic rhythms that elevate the flow of notes and sounds. Mood is a dynamic number, it feels stable which is good to know, and it gradually lifts in spirit to allow for gleeful movement.
Gonna Let invites us in with a little more speed. A full-on dance-beat opens with heavy bass and sinister hats with resonant snare. Chords then add a line of mellow emotion that settles somewhere near the middle. Polyphonic aspects then begin to twirl and spin within their neat squares. Extra percussion is added, a great catchy rhythm stretches out like a lazing cat. New phonics then mutter and elocute with poetic sounds without meaning. Gonna Let.. just let all the feels in. A bass then ramps up its power and finds a bouncing floor to tremble on as the track progresses into an upbeat anti-gravity atmosphere.
Moving On hits us with yet more classic dancing rhythms. Another full-on speed of tempo reveals a neat little break before some funky chords bring a two-stroke melody. The longer tones reverberate against the faster drum as a chunky bass fills in the voids underneath. The rhythm plays with the stage as elements fade and move to the sides. The pace is given a shove as a small let-down allows a sudden push of all elements tat accompany more abstract vocalisations. This last track has gradually turned up the dance effect from the initial laid-back groove we began with. Self-similar parts keep the consistency solid while a subtle tweak of the delivery grants us the wish of a progressive and evolving set of mixes.
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Rowan Blair Colver for The Electro Review.